A journey into the realms of high weirdness

Category Archives: Metatron Cube

An analysis of the prime number cross and its discernable connection with Phi,Fibonacci,Qabalah,Tarot and Ed Leedskalnin’s Coral Castle.

Or; all the math they never taught you about in school.

Paul Bevan and Roz Polden 2013.

According to Dr Peter Plichta a German chemist, the ancient Egyptians were aware of a hidden pattern buried away within the prime number sequence. By placing the numbers from 1 to 24 into a circle,as we did previously with the 24 reduced Fibonacci numbers and moving in a clockwise direction, then placing the next 24 numbers of the sequence running concentrically around it, repeating this manouvre, we discover that the prime numbers fall on the diagonals which in turn appear to form the image of a Templar cross.

Contained within his prime number cross are the numbers from 1 to 144
Within this series of the first 144 numbers there are 34 prime numbers.

On Plichta’s diagram we note that only 32 primes fall into the cross.

The primes 2 and 3 are for some reason, excluded from this Templar cross patterning.

Taking these primes which fall within the cross;

5,7,11,13,17,19,23,29,31,37,41,43,47,53,59,61,67,71,73,79,83,

89,97,101,103,107,109,113,127,131,137,139.

Their total value is 2124 which reduces to 9.
The numbers 2 and 3 are the excluded exceptions
2 plus 3=5
Taking the full prime sequence up to 144
2,3,5,7,11,13,17,19,23,29,31,37,41,43,47,53,59,61,67,71,73,79,

83,89,97,101,103,107,109,113,127,131,137,139.
Their total value is 2129 which in turn reduces to 5.
(14=5-PHIve)

Reducing the numbers on the prime cross to a single digit by mod 9
reveals the following array-and it is a familiar one also-all the the numbers fall into 3 distinct sequences alternating as follows;1-4-7 2-5-8 3-6-9
Which in turn break down further to a single digit pattern3-6-9

3-6-9 patterning with prime number cross.

(Click image to enlarge.)

This is exactly the same patterning as we have witnessed so far within the repeating 24 Fibonacci sub-code

and the 3 groupings of the prime numbers divisable by 1,2 and 3.

Or even by adding the single numbers together;1,4,7=1-10-28(1-1-1)=3 2,5,8=3,15,36(3-6-9)=9 3,6,9=6,21,45(6-3-9)=9 3,9,9=21(3) 21 Counting down; 1,3,6=10(1) 1,6,3=10(1) 1,9,9=19(1) 1-1-1
1-1-1 times 8
(The pattern occurs 8 times in the prime cross)8-8-8
(8-8-8=24-Indicative of time perhaps?)
Applying the same rule as above;
36-36-36=9-9-9
36+36+36=108=9
108
3 nines
27
9-8

Toroidal ‘S’ curves are also visibly present within the prime number cross sequence.
(Starting from the 1 position in the cross)
Note; all chains in this progression break down by mod 9 to the 3-9-6 sequence.

The last two numbers of a chain are always the first two numbers of the second (highlighted in red)
The commencing number in the first line (18) is the same as the final number in the last line.
(Highlighted in blue)
This pattern repeats throughout the cross,turning on each 9th chain.

Also there would appear to be another sequence occuring in the last two numbers of each chain;

The first four seem to follow a 2,4,6,8 sequence
The next five follow a 1,3,5,7,9 pattern.

Patterns are also visible within the array of numbers if we read them in straight lines from inner to outer;
eg;714714,
this continues over in the opposite line with a chirality of 471471
The same patterning occurs within all the number stands throughout the prime number cross.

Dr Joseph Puleo discovered a pattern of six repeating codes he claimed he had uncovered within the bible. These he believed were encoded,appropriately enough,into the Book of Numbers, chapter 7,in verses 12 through 83. When he deciphered these verses reducing the verse numbers to their single digit integers, the code revealed a series of six electromagnetic sound frequencies that he believed had correspondence with the six missing tones of the ancient Solfeggio scale.

The six number sequences he had arrived at were as follows:

396, 417, 528, 639,741 and 852.

1. Ut = 396 = 9

2. Re = 417 = 3

3. Mi = 528 = 6

4. Fa = 639 = 9

5. Sol = 741 = 3

6. La = 852 = 6 Looking through this chapter, we first notice that it renders 12 separate lists, each one appearing to be generally similar to the others. Each list begins with “on the first day, on the second day” etc… then provides a list of what had been sacrificed. By writing down the corresponding verse number each time it says “on the first/second etc day”

Then if we convert each of those verse numbers to single digits. It renders the following pattern: 396396396 etc We could go ahead and dismiss this as being coincidence,however he then adds that

if we write down the corresponding verse number every time it says

“And his offering was one silver charger”

and reduce those values to single digits. This will render the pattern 417417417417 etc And if we follow the same principle with the next one, “One spoon of ten shekels of gold” This contributes the pattern 528528528528 etc

This system,Puleo claims will work with every single verse in Numbers 7:12-89

These concealed number sequences Puleo discovered happen to mesh very precisely with the numerics rendered by our device formed by the 24 Fibonacci numbers.

Could it be we are getting a first glimpse of something which might be construed as a possible ‘theory of everything’?

Discovering the identical numeric sequence within the PRIME NUMBERS certainly encouraged us regarding the possibility of this belief.

The prime numbers also just happen to display this same natural three part division. Therefore the indivisible numbers 1, 2, 3 are representative of the primary terms of 3 different numeric sequences:

Note the interweaving pattern of oscillation of the 1-4-7 and the 2-5-8 sequences whereas the 3-6-9 patterning remains the constant vector. The numbers in the two columns (1 and 2) added together Vertically, renders the following sequence; 9,6,3,9,6,3,9,6,3,9.

(By base 9 reduction)

(This is visibly mirroring a prominent feature incorporated within Raphael’s painting of ‘The School Of Athens’-the border motif on the ceiling arch is 24 fold, echoing our 24 reduced Fibonacci numbers,is divided into two blocks of 12,each is represented by one of 24 ‘greek keys’ (Meandros) following the exact same modelling as the red and black 124875 sequences we have noted in the image above.

Raphael Sanzio;’The School Of Athens’ C.1509/1511. Clearly, these understandings are far from new, apparently they have been well known in certain circles for a good length of time.

The form of the Greek Key, otherwise known as the Meandros is noted here to be implicit within our 1,2,4,8,7,5 sequencing of the three orders of prime numbers.

This prime number patterning displays the self-same doubling circuit numbers that Marko Rodin happened upon and we note both in our 24 repeating Fib patterning and within Pascal’s triangle.

Here we see a dual patterning where the 1-2-4-8-7-5 sequence runs in chirality with itself. One sequence beginning on the bottom line and moving upwards to the next,working to the right,and the other following it starting from the top,moving downwards and to the right in mirror-fashion to the first.Two doubling circuits.

1-2-4-8-7-5

Click on image to enlarge.

The Meandros and the three sixes motif.

Shugborough Shepherd’s Monument.

Three Sixes in the reduced prime sequence.

5,7,2,4,8,1

4,8,1,5,7,2

6,9,3,6,9,3

We also note this same 3 times 6 number patterning within the work of the Alchemist Nicolas Flamel.Other numeric cues pertainable to the 24 reduced Fibonnaci numbers are also visible within writings and drawings ascribed to Flamel.

As we mentioned within the previous post,the 24 reduced Fibonacci numbers when placed around a circle, visibly generate the form of the 5 Platonic solids.

This time around,we are going to look closely at how this strange phenomena occurs.

In Euclidean geometry, the Platonic solids present as being regular,convex polyhedrons. Their faces are congruent regular polygons, with the same number of faces meeting at each vertex. Within classical thought,there are five solids which meet this criteria; each of which is named according to its specific number of faces.

Plato in his work ‘Timaeus’ writing around C.350 BCE, made a connection between these 5 polyhedra and the classical elements.

He equated the tetrahedron with the element of fire,the cube with that of Earth,the octahedron with Air,the iscosahedron with Water and the dodecahedron with the quintessence or the heavens and the constellations.

In terms of a connection with Lurianic qabalah,Leonora Leet,in her book ‘The secret Doctrine Of The Kaballah’,equates the 5 Platonic solids with the ‘Partzufim‘; the five faces of God; Arech Anpin,Abba,Imma,Z’eir Anpin and Nukvah-The unmanifest,the father,the mother,son and daughter. As we neither have the time or space to peruse this connection in any depth,as this presents such a complex and detailed subject-its possibly best to leave it to you,the reader to decide whether to investigate this apparent connection in any greater depth.

The Tetrahedron.

The tetrahedron is the first manifested polyhedra,believed by Plato to equate with the element of fire.

in our Fibonacci circle,it is generated by the interaction of the star configuration formed by the 3,the 6 and the 9.

In qabalistic thinking,the tetrahedron is held to self-replicate into a star tetrahedron,as a primary manifestation of duality.In the instance of our device this means that it drops below and forms another tetrahedron from the remaining 3,6 and 9.

The vertices of this emergent star tetrahedron supply all the points of manifestation of the next two solids,The cube and the Octahedron,a pairing of solids which are held to manifest coterminously with each other.

The Cube.

The cube,equated with the element of Earth,again in its generation,is a product of the 3 6 and 9 matrix. Its 6 faces provide for the manifestation of the third solid,the octahedron,within which, its vertices are located at the the point of the centres of the cubes faces.

The Octahedron.

The octahedron,with its classical connection to the element of Air,is also like its partner,the cube,generated by the same 3-6-9 template.

The Icosahedron.

We now come to the final pairing,the icosahedron (Water) and the dodecahedron (Quintessence),these differ markedly from the previous solids in that they are dependent upon a new template in order to manifest within the Fibonacci numbers.We now see that another star,one comprised of groupings of the 1-1-1 and 8-8-8 numbers now comes into play, in order to provide the relevant energetic pathways required to generate these two solids. Having studied the Metatron cube for some time in order to understand how these polyhedra emerged,it felt to us as though they did not manifest in a way that felt to fit in naturally with the schema-there were simply insufficient co-ordinates within the structure of the Merkabah/Metatron cube,to account fully for their presence within this design.It was only when the 24 reduced Fibonacci number pattern was added to the Metatron cube in its 15 degree increments that it became patently clear that these two solids were indeed integral components of the overall design.

The Dodecahedron.

The dodecahedron (The cosmos/Quintessence), sits comfortably within the matrix created by the 3-6-9 configuration and the 1-1-1/8-8-8 star.

Following on from Marko Rodin’s cues,we now place the 24 reduced Fibonacci numbers around a circle in 15 degree increments.

We now note that all numbers taken with their 180 degree opposite add or reduce to 9.

Marko Rodin identifies 3 key constructs within the device;

What he defines as two doubling circuits running in opposing directions following the numeric patterning of 1-2-4-8-7-5.

The numeric sequence of the 1-2-4-8-7-5 doubling circuit is highly significant and we will later explore its visible presence in other mathematical constructs such as Pascal’s triangle.

And a vector which occupies the positions of the 3s,the 6s and the 9s.

”The Star Tetrahedron, which is the 3-Dimensional form of the Star of David, is the geometric equivalent to the Phi Code expressing precisely the 24ness exhibited in the Reduction or Compression of the Fibonacci Numbers.”

Jain

Here we are beginning to see evidence of nacent geometrical structures manifesting from the reduced numbers contained within the sequence.

Following the blue lines on the illustration below we also note that this patterning also gives rise to the first signs of a more evolved 3-dimensional geometric structure,an octahedron.

This octahedron appears to to be set within the outline of a rudimentary cube.

This is interesting viewed from the perspective of the Platonic solids.

Is this construction of the classical elements from the regular solids something akin to what we are witnessing here?

In this arrangement of the five Platonic solids,the cube and the octahedron form a pairing,just like we see in the above illustration.

A cube has 8 vertices,12 edges and 6 faces.

A octahedron has 6 vertices,12 edges and 8 faces.

The two 1-2-4-8-7-5 doubling circuits each form a perfect hexagonal structure as does the doubled 3-6-9 vector.

3 Hexagons

6-6-6

Thinking about these two 1-2-4-8-7-5 doubling circuits running in opposing directions and the vector,I am reminded of comparisons with the Hermetic Caduceus with its two serpents wound around the staff.

1 4 7=3

2 8 5=6

3 6 9=9

3-6-9

”If you only knew the magnificence of the 3, 6 and 9, then you would have the key to the universe.”

Nicola Tesla.

Our 1-2-4-8-7-5 also crops up in a few other places,mathematically speaking.

One notable example I mentioned earlier is the Pascal Triangle,or more accurately the Meru Prastera configuration.

As explained in the above diagram,not only does the Meru Prastera contain the 1-2-4-8-7-5 doubling sequence accessed by counting the value of each horizontal line working top-down,and reducing the numbers by base 9,but it also,by adding up the diagonals and subjecting them to the same reduction schema,provides us with the Fibonacci numbers running in perfect sequence.

Within the Fibonacci series there is a hidden sub code which repeats every 24 numbers;

It is not so easy to identify if we take this numeric sequence on its face value
eg;
1,1,2,3,5,8,13,21,34,55,89,144,233,377,610,987,1597,2584,4181,6765,10946,17711,28657,

46368,75025.

This patterning becomes visible only when we apply a form of numeric reduction-similar to that which is utilised within Marko Rodin’s vortex math or in Jain’s Vedic mathematical research.
By this I mean we use a form of reduction whereby all the digits of a number are added together until only one number remains.
For example,the number 21 becomes 2+1=3
or 75025 is treated as 7+5+0+2+5=19=10=1

This is also known as Mod 9 or base 9.

Applying this method of reduction to the Fibonacci numbers reveals an infinitely repeating sequence of 24 digits.

This same 24 sequence repeats ad infinitum throughout the Fibonacci numbers no matter how far we choose to progress them.

This understanding is by far from new. I’m sure you have come across it before. After all, it has been around on the web for quite some time now.
As it is however intrinsic to the understanding of the material we wish to present here, maybe it is necessary to cover all of the basics before we move on.

What we would like to share with you next however is something completely new.